Keith Knight is one very funny, and profound, cartoonist. What is the secret to his success? Consider this life lesson: It is all in the doing. It applies in art school, law school, med school, any kind of school. “I’ve been doing this for years,” said Keith to a question I put to him about his success. That comment says it all. It is a part of this interview that stays with me. Knight has created a wonderful life for himself that includes making a living as a cartoonist. He has done it with style and become a significant voice. And he is easy to find and to keep up with, especially with his special subscription service you can check out here.
In this interview, we talk about activism in comics as well as the nature of humor. We go over a long and rewarding career. And we look at some exciting things that lie ahead, like Keith’s first full-length graphic novel, “I Was A Teenage Michael Jackson Impersonator.” Keith has also branched out into live action videos which bring his comics to life. And there is a comedy show, based on Keith’s life as a struggling cartoonist, that is being pitched so we’ll see how things go.
Keith Knight has three comic strips he regularly creates, there are two weekly strips, “The K Chronicles” and “(Th)ink.” And there’s the daily, “The Knight Life.” He also has strips in Mad Magazine: “Father O’Flannity’s Hot Tub Confessions” and “Bully Baby.”
Also in this interview, Keith jokes about his focus being, “the fight for a more decent cartoonist’s wage.” Certainly, his concern is over the same stuff most folks worry about: healthcare, education, and “not being condemned if you’re poor or low-income.” When asked about his thoughts over his legacy, Keith’s mind turns to the 500-page collection of “The K Chronicles,” published by Dark Horse Comics and that you can take a look at here.
Just click below to listen to the interview:
If you’re in the San Francisco area, you can stop by and visit with Keith at the Alternative Press Expo on October 12 and 13.
And you can also listen to Keith on Totally Biased with W. Kamu Bell on FXX, broadcast live on Tuesday, October 22.
Keep up with Keith Knight at The K Chronicles site here and The Knight Life site here.
The Power of Cinema: A Movie Review of GIANT
AN AMERICAN DIVIDE.
“Giant” is not quite as spectacular as “Gone with the Wind,” but it certainly holds its own. Both are colossal movies in star power, production, and size. “Giant,” however, is in a class all its own as it addresses head-on the curious relationship between the United States and Mexico and beyond. It is a powerful indictment on intolerance, expressed boldly and with audacity. And in 1956!
YOU DO NOT BELONG HERE.
The whole movie can be boiled down to one scene. In fact, the movie could very well have been made simply for the sake of this one scene. You may know it, or know of it. It’s easy to do a quick search and watch the clip on YouTube. But, like most things in life, we gain from digging deeper. You simply must see the whole movie to appreciate its significance. Like I say, this movie came out in 1956. We Americans still have much to learn, as a whole country, don’t we? Some people think all we need to do is build a wall.
HOLD ON THERE!
By the time we get to that momentous confrontation in a modest roadside diner, the main character of Jordan “Bick” Benedict (played by Rock Hudson) has grown by leaps and bounds as a human being. The suggestion is that so could America, as a whole, and anywhere else there is ignorance and hatred. It was there then. It is here now. We just pretend it doesn’t exist, at least too many of us do. That’s what Bick did. He never acknowledged, let alone cared about, all the Mexican people around him. He was the patriarch of a cattle empire in Texas. That’s all that mattered. Even if Mexicans worked on his ranch and cared for his children, as far as he was concerned, they didn’t really exist. So, if any harm came to them, that wasn’t his problem.
WE HAVE US A FIGHT!
Some people assume all is well with the world as long as they are doing well. They cannot, will not, see beyond what they consider to be important. Maybe it’s a sewing circle, or collecting recipes, or a family pet. In the case of Bick, all that mattered was the family estate of Reata. In Edna Ferber’s novel, faithfully brought to the screen by George Stevens, we find in “Giant” the sweeping epic story of Texas. We follow the Benedict family from about 1930 to 1950 and see how Bick reacts to the great transition from a focus on cattle to a focus on oil. The fate of the Mexican population seems lost in the shuffle but it is always referred to, demanding some kind of answer.
THE FACE OF A NEW AMERICA.
By the time we reach that moment of truth in that diner, Bick must act instead of just react. The precision drumbeat has begun to the rousing tune of “The Yellow Rose of Texas” on the jukebox just as Bick and his family walk in. The signal is clear, we have something big that’s about to happen. Bick’s eyes have been opened to the world. He can empathize. His own son is married to a Mexican. And they have a beautiful child, Bick’s grandson. When the family arrives at the diner, the diner’s owner is prepared to throw them out but hesitates. He barks an insult and cowardly walks away. A few minutes later, a serious confrontation is inevitable.
In just a few moments, Bick witnesses the diner’s owner manhandle a Mexican family that had just arrived. Bick is now in a position, in his mind and heart, to take a stand. As the music on the jukebox swells, Bick and the owner engage in a fight. First words, then fists, and then total mayhem. It’s the most direct and honest thing that Bick has ever done in his whole life and, to think it possible, in the defense of the Mexicans. While in may seem amazingly sophisticated and enlightened for such a major motion picture to have been made at that time, it really is not too much to ask. The tide was slowly turning towards social change. The general public, whether or not they admit so in public, know right from wrong. In fact, “Giant,” is a widely acknowledged icon. Like its name implies, it is too big to ignore and too big to dismiss.
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Filed under American History, Commentary, History, Movie Reviews, movies, Race, Race Relations, Racism, Social Commentary, Social Justice
Tagged as 1950s, Edna Ferber, Elizabeth Taylor, Fiction, George Stevens, Giant, History, Hollywood, Immigration, James Dean, Mexicans, Mexico, Prejudice, Race, Race Relations, Racism, Rock Hudson, social conscience, social issues, Social Justice, Texans, Texas